In a world inundated with languages, the show invites visitors to embark on a contemplative journey into the profound and often overlooked realm of the unspoken. This exhibition
delves into the power of what remains unsaid, revealing the intricate rhythmic patterns of emotions, thoughts, and meanings that exist beyond sentences and carefully executed phrases. Through a diverse range of artworks the show allows the audience to listen to the eloquent silence that envelops us all.
This exhibition serves as a reminder that within these texts and words, we find space for introspection, empathy, and connection. It encourages visitors to explore the unsaid in their own lives and to appreciate the beauty and depth that resides in the unspoken. As you navigate through this exhibition, we hope you will allow yourself to pause and contemplate the eloquence of what remains unsaid.
Imran Baloch
Born in Quetta, Imran Baloch started his professional practice as commercial signboard painter. He then graduated in Fine Arts from the University of Baluchistan in 2015 and
later on earned his Master’s degree in Visual Art from the prestigious National College of Arts, Lahore in 2021. Coming a long way into contemporary art, he has participated in many national exhibitions and has conducted different calligraphic workshops.
Imran’s work is about language recognition. He believes that the use of Urdu language is decreasing day by day in recent time and our identity is being compromised. He makes words out of clay. His medium (clay) and the various stages it goes through in the process plays an important role in expressing his concept. He finds it similar to the evolution of a language which goes through a constant process of shaping and reshaping due to various, geographical, social, cultural, religious.
Faizan Riedinger
Born in 1988, Faizan Riedinger is a German-Pakistani visual artist and musician. His work has been featured in solo shows and collectives locally and internationally, and has
been acquired by the Islamic Art Museum Malaysia in 2022.
Riedinger’s art is rooted in his love for the Arabic alphabet and script. He works fastidiously and meticulously, using architect’s pens on canvas to create calligraphic-inspired motifs that are minute and identical in size, and which combine to form geometric shapes. Sometimes monochrome and on other occasions created in a combination of contrasting colours, the pieces have a calming, understated and hypnotic quality about them that aligns with their creator’s artistic process. He finds satisfaction in the self-imposed limitations and restrictions that are a key part of the process in his art. Riedinger thinks “hyper-minimalism” may best describes his work, since it looks minimal but once examined closely, is full of detail. The elements in his work have to be exact, which can be frustrating, and the nature of his method is highly repetitive, but when one steps back and see the work in its entirety, it’s incredibly satisfying.
Riedinger lives and works in Karachi, Pakistan.
